Wendt’s photomontage

**Lionel Wendt ::** [unknown title] Surrealist Modernist Giant Hand. Photogravure print, 1940s. | src vintageads on eBay

Day Dreaming, 1930s

**Lionel Wendt ::** Dreaming, 1933–34, photogravure, from Lionel Wendt’s Ceylon (London, Lincolns-Prager Publishers Ltd, 1950). | src British Art Studies

**Lionel Wendt ::** ‘Day-Dream’, Fonseka, Manel. Exhibition Catalogue *Rediscovering Lionel Wendt*, Lionel Wendt Memorial Fund, Colombo, 1994, p.4. | src Lionel Wendt Centre for the Arts
Another print, dated 1938, is titled ‘In Silent Places’ (bromide)

Wendt’s Landscapes

**Lionel Wendt ::** Silence, ca. 1930s-1940s, photogravure, from Lionel Wendt’s Ceylon (London, Lincolns-Prager Publishers Ltd, 1950). | src British Art Studies

**Lionel Wendt ::** [unknown title] Wirawila Beach, Sri Lanka, Landscape. Photogravure print, 1940s. | src vintageads on eBay

**Lionel Wendt ::** [unknown title], Sri Lanka, Sea, Landscape. Photogravure print, 1940s. | src vintageads on eBay

Wendt’s photomontages

**Lionel Wendt ::** Gay Abandon, ca. 1940, photogravure, from Lionel Wendt’s Ceylon (London, Lincolns-Prager Publishers Ltd, 1950) | src British Art Studies

Wendt’s photomontage has been most conventionally and variously comprehended through its pastiche of influences and motifs such as De Chirico’s futurist arches, Magritte’s “Ceci n’est pas un oeuf,” Piero della Francesca’s Brera Madonna, Georges Bataille’s rumination on the story of the eye, and the recurrent vignette of a distant brig. Although he clearly held great admiration for those artistic circles he came into contact with in Europe, it seems a bit too summary merely to insert him within these narratives. (quoted from source)